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The Antonine Wall Distance Sculptures are iconic and unique sculptural reliefs that marked Rome's most north-westerly frontier across central Scotland. Their inscribed texts and iconography depict graphic tales of frontier life, and recent non-invasive analysis has confirmed they were originally brought to life through vibrant polychromy. This paper tracks the trajectory of one Distance Sculpture that was embedded into the dramatic setting of Dunnottar Castle off the north-east coast of Scotland during the 16th century, where it was recorded as having been repainted during that episode of use. A suite of complementary analytical techniques, including pXRF, FTIR, and SEM/EDS, was recently reported on which identified pigments and surface treatments as well as their chronology of application, confirmed through stratigraphic sequencing visible in cross-section. That approach facilitated the investigation of all episodes in the itinerary of this iconic sculpted relief from the second century to the Scottish Renaissance. That vanguard research has provided an unprecedented opportunity to unravel the rich hidden history behind this unique monumental inscription and re-tell a fascinating transformational tale of a pivotal period in its past. The combination of historical, archaeological, and scientific approaches to an understudied, and overlooked, phenomenon of post-antique colouration is revolutionary in polychromy studies. It provides innovative and well-contextualised information that lifts an aesthetically modest Roman monument into a vibrant, colourful, and sumptuous decorative feature fit to grace the walls of a Renaissance castle emulating Roman imperial practices. We can now trace its journey through time by delving into the detail of its Renaissance repainting to present, for the first time, an accurate digital reconstruction as it performed for 16th century audiences. [ABSTRACT FROM AUTHOR]